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Louis Armstrong
Louis Daniel Armstrong'''He preferred that his name be pronounced '''Louie. "It's like Louis Armstrong - he spelled his name Louis, but he liked it to be said as Louie," recalls Louie Bellson http://www.jazzprofessional.com/interviews/Louie%20Bellson_12.htm. Armstrong was registered as "Lewie" for the 1920 U.S. Census. On various live records he's called "Louie" on stage, such as on the 1952 "Can Anyone Explain?" from the live album In Scandinavia vol.1. It should also be noted that "Lewie" is the French pronunciation of "Louis" and is commonly used in Louisiana. However, when referring to himself in "Hello Dolly!," he pronounces his name as "Lewis" ("Hello, Dolly. This is Lewis, Dolly"), pronouncing the 's'. (August 4, 1901 – July 6, 1971),Armstrong said he was not sure exactly when he was born, but celebrated his birthday on July 4. He usually gave the year as 1900 when speaking in public (although he used 1901 on his Social Security and other papers filed with the government). Using Roman Catholic Church documents from when his grandmother took him to be baptized, New Orleans music researcher Tad Jones established Armstrong’s actual date of birth as August 4, 1901. With various other collaborative evidence, this date is now accepted by Armstrong scholars. See also age fabrication. nicknamed Satchmo'For "satchel-mouth." or 'Pops, was an American jazz trumpeter and singer from , Louisiana. As a virtuoso trumpet player, Armstrong had a unique tone and an extraordinary talent for melodic improvisation. Through his playing, the trumpet emerged as a solo instrument in jazz and is used widely today in many genres of music. He was a masterful accompanist and ensemble player in addition to his extraordinary skills as a soloist. With his innovations, he raised the bar musically for all who came after him.Coming to prominence in the 1920s as an "inventive" cornet and trumpet player, Armstrong was a foundational influence in jazz, shifting the music's focus from collective improvisation to solo performance. Video clips Armstrong was one of the most featured jazz musicians in film and early television around the world. For a full library of video clips of Satchmo, see Louis Armstrong Videos Video:Louis Armstrong - Hello Dolly Live|Hello Dolly performed for a live television event in Europe. Video:Dizzy Gillespie & Louis Armstrong - Umbrella Man|Rare footage of Dizzy Gillespie & Louis Armstrong performing together. Video:Louis Armstrong - When The Saints Go Marching In|When the Saints Go Marching In Video:Louis Armstrong - Mack the Knife|Mack The Knife - Note the damage to his lips that his powerful embouchure creates Discography For samples of Louis Armstrong music and his complete recordings list, Biography With his instantly recognizable deep and distinctive gravelly voice, Armstrong was an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also greatly skilled at scat singing, vocalizing using sounds and syllables instead of actual lyrics, and popularized scat for both other artists and fans alike. Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general around the world. Armstrong was one of the first truly popular African-American entertainers to "cross-over," whose skin-color was largely secondary to his amazing talent in an America that was severely racially divided. It allowed him socially-acceptable access to the upper echelons of American society that were highly restricted for a person of color during the years that he lived. While he rarely publicly politicized his race, often to the dismay of fellow African-Americans, he was privately a huge supporter of the Civil Rights movement in America. He was also a colorful character who told a lot of tall-tales about his early years, who loved food, and who was obsessed with his bodily functions. He was financially generous, loved working with children, and gave of his time and money to charities and to selected political and social causes. Music Armstrong gained fame as a horn player, then later became better known as a bandleader, vocalist, musical ambassador and founding figure of modern American music. Horn playing and early jazz In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet. The greatest trumpet playing of his early years can be heard on his Hot Five and Hot Seven records, as well as the Red Onion Jazz Babies. The improvisations he made on these records of New Orleans jazz standards and popular songs of the day are unsurpassed by later jazz performers. The older generation of New Orleans jazz musicians often referred to their improvisations as "variating the melody." Armstrong's improvisations were daring and sophisticated for the time, while often subtle and melodic. He often essentially re-composed pop-tunes he played, making them more interesting. Armstrong's playing is filled with joyous, inspired original melodies, creative leaps, and subtle relaxed or driving rhythms. The genius of these creative passages is matched by Armstrong's playing technique, honed by constant practice, which extended the range, tone and capabilities of the trumpet. In these records, Armstrong almost single-handedly created the role of the jazz soloist, taking what was essentially a collective folk music and turning it into an art form with tremendous possibilities for individual expression. Armstrong's work in the 1920s shows him playing at the outer limits of his abilities. The Hot Five records, especially, often have minor flubs and missed notes, which do little to detract from listening enjoyment since the energy of the spontaneous performance comes through. By the mid 1930s, Armstrong achieved a smooth assurance, knowing exactly what he could do and carrying out his ideas to perfection. He was one of the first artists to use recordings of his performances to improve himself. Armstrong was an avid audiophile. He had a large collection of recordings, including reel-to-reel tapes, which he took on the road with him in a trunk during his later career. He enjoyed listening to his own recordings, and comparing his performances musically. In the den of his home, he had the latest audio equipment and would sometimes rehearse and record along with his older recordings or the radio.Michael Cogswell, Louis Armstrong: The Offstage Story of Satchmo (Collector's Press, Portland, Oregon, 2003) ISBN 1-888054-81-6 pp. 66–68. Vocal popularity As his music progressed and popularity grew, his singing also became very important. Armstrong was not the first to record scat singing, but he was masterful at it and helped popularize it. He had a hit with his playing and scat singing on "Heebie Jeebies" when, according to some legends, the sheet music fell on the floor and he simply started singing nonsense syllables. Armstrong stated in his memoirs that this actually occurred. He also sang out "I done forgot the words" in the middle of recording "I'm A Ding Dong Daddy From Dumas." Such records were hits and scat singing became a major part of his performances. Long before this, however, Armstrong was playing around with his vocals, shortening and lengthening phrases, interjecting improvisations, using his voice as creatively as his trumpet. Colleagues and followers During his long career he played and sang with some of the most important instrumentalists and vocalists of the time; among them were Bing Crosby, Duke Ellington, Fletcher Henderson, Earl Hines, country musician Jimmie Rodgers (The Singing Brakeman), Bessie Smith and perhaps most famously Ella Fitzgerald. In the movies and on television, he was a frequently featured singer in dramas, musicals, and variety shows, appearing with Danny Kaye, Carol Channing, Lucille Ball, Bob Hope and many others. He also recorded a whole series of Disney standards for Walt Disney entitled Disney Songs the Satchmo Way. Bing Crosby & Influence on White American Music : It is his influence upon Bing Crosby, though, was particularly important with regard to the subsequent development of popular music.thumb|300px|left|Bing Crosby & Louis Armstrong in the feature film "High Society" : Armstrong was the first African-American musician to cross over the divide of white America and black America which was highly segregated politically, culturally and socially. Many white performers admired black performers, and tried to emulate aspects of their performance for "this side of the tracks" consumption. : Crosby admired and copied Armstrong, as is evident on many of his early recordings, notably "Just One More Chance" (1931). The New Grove Dictionary Of Jazz describes Crosby's debt to Armstrong in precise detail, although it does not acknowledge Armstrong by name. Ella Fitzgerald Armstrong recorded three albums with Ella Fitzgerald: Ella and Louis, Ella and Louis Again, and Porgy and Bess for Verve Records, with the sessions featuring the backing musicianship of the Oscar Peterson Trio and drummer Buddy Rich. Other Artists His recordings Satch Plays Fats, an album of Fats Waller tunes, and Louis Armstrong Plays W.C. Handy in the 1950s were perhaps among the last of his great creative recordings, but even oddities like Disney Songs the Satchmo Way are seen to have their musical moments. His participation in Dave Brubeck's high-concept jazz musical The Real Ambassadors was critically acclaimed. For the most part, however, his later output was criticized as being overly simplistic or repetitive, and trading on his past accomplishments. Hits and later career Armstrong had many hit records including "Stardust", "What a Wonderful World", "When The Saints Go Marching In", "Dream a Little Dream of Me", "Ain't Misbehavin'", "You Rascal You,"and "Stompin' at the Savoy." "We Have All the Time in the World" was featured on the soundtrack of the James Bond film On Her Majesty's Secret Service, and enjoyed renewed popularity in the UK in 1994 when it featured on a Guinness advert. It reached number 3 in the charts on being re-released. In 1964, Armstrong knocked the Beatles off the top of the ''Billboard'' Hot 100 chart with "Hello, Dolly!", which gave the 63-year-old performer a U.S. record as the oldest artist to have a number one song. His 1964 song, "Bout Time" was later featured in the film "Bewitched" (2005). Armstrong performed in Italy at the 1968 Sanremo Music Festival where he sang "Mi Va di Cantare""Hit Parade Italia" Hit Parade Italia - Festival di Sanremo 1968. alongside his friend, the Eritrean-born Italian singer Lara Saint Paul."Mi va di cantare" Lara Saint Paul - lavocedelledonne.it. In February 1968, he also appeared with Lara Saint Paul on the Italian RAI television channel where he performed "Grassa e Bella," a track he sang in Italian for the Italian market and C.D.I. label.Louis Armstrong: "Grassa e bella" Louis Armstrong Discography. In 1968, Armstrong scored one last popular hit in the United Kingdom with the highly sentimental pop song "What a Wonderful World", which topped the British charts for a month; however, the single did not chart at all in America. The song gained greater currency in the popular consciousness when it was used in the 1987 movie Good Morning, Vietnam, its subsequent rerelease topping many charts around the world. Armstrong even appeared on the October 28, 1970 Johnny Cash Show, where he sang Nat "King" Cole's hit "Rambling Rose" and joined Cash to re-create his performance backing Jimmie Rodgers on "Blue Yodel #9". Stylistic range Armstrong enjoyed many types of music, from blues to the arrangements of Guy Lombardo, to Latin American folksongs, to classical symphonies and opera. Armstrong incorporated influences from all these sources into his performances, sometimes to the bewilderment of fans who wanted Armstrong to stay in convenient narrow categories. Armstrong was inducted into Rock and Roll Hall of Fame as an early influence. Some of his solos from the 1950s, such as the hard rocking version of "St. Louis Blues" from the WC Handy album, show that the influence went in both directions. Literature, radio, films and TV Armstrong appeared in more than a dozen Hollywood films, usually playing a band leader or musician. His most familiar role was as the bandleader cum narrator in the 1956 musical, High Society, in which he sang the title song and performed a duet with Bing Crosby on "Now You Has Jazz". In 1947, he played himself in the movie New Orleans opposite Billie Holiday, which chronicled the demise of the Storyville district and the ensuing exodus of musicians from New Orleans to Chicago.http://www.imdb.com/title/tt0039655/ In the 1959 film, The Five Pennies (the story of the cornetist Red Nichols, he played himself as well as singing and playing several classic numbers, including a remarkable duet with Danny Kaye of When the Saints Go Marching In during which Kaye does a brilliant impersonation of Armstrong. He was the first African American to host a nationally broadcast radio show in the 1930s. In 1969, Armstrong had a cameo role in the film version of Hello, Dolly! as the bandleader, Louis, to which he sang the title song with actress Barbra Streisand. His solo recording of "Hello, Dolly!" is one of his most recognizable performances. He was heard on such radio programs as The Story of Swing (1937) and This Is Jazz (1947), and he also made countless television appearances, especially in the 1950s and 1960s, including appearances on The Tonight Show Starring Johnny Carson. Armstrong has a record star on the Hollywood Walk of Fame on 7601 Hollywood Boulevard. Many of Armstrong's recordings remain popular. Almost four decades since his passing, a larger number of his recordings from all periods of his career are more widely available than at any time during his lifetime. His songs are broadcast and listened to every day throughout the world, and are honored in various movies, TV series, commercials, and even anime and computer games. "A Kiss to Build a Dream On" was included in the computer game Fallout 2, accompanying the intro cinematic. It was also used in the 1993 film Sleepless in Seattle and the 2005 film Lord of War. His 1923 recordings, with Joe Oliver and his Creole Jazz Band, continue to be listened to as documents of ensemble style New Orleans jazz, but more particularly as ripper jazz records in their own right. All too often, however, Armstrong recorded with stiff, standard orchestras leaving only his sublime trumpet playing as of interest. "Melancholy Blues," performed by Armstrong and his Hot Seven was included on the Voyager Golden Record sent into outer space to represent one of the greatest achievements of humanity. Most familiar to modern listeners is his ubiquitous rendition of "What a Wonderful World". In 2008, Armstrong's recording of Edith Piaf's famous "La Vie En Rose" was used in a scene of the popular Disney/Pixar film WALL-E. The song was also used in parts, especially the opening trumpets, in the French Film Jeux d'enfants (English: Love Me If You Dare) Argentine writer Julio Cortázar, a self-described Armstrong admirer, asserted that a 1952 Louis Armstrong concert at the Théâtre des Champs-Élysées in Paris played a significant role in inspiring him to create the fictional creatures called Cronopios that are the subject of a number of Cortázar's short stories. Cortázar once called Armstrong himself "Grandísimo Cronopio" (Most Enormous Cronopio). Armstrong appears as a minor character in Harry Turtledove's Timeline-191 series. When he and his band escape from a Nazi-like Confederacy, they enhance the insipid mainstream music of the North. There is a pivotal scene in 1980's Stardust Memories in which Woody Allen is overwhelmed by a recording of Armstrong's Stardust and experiences a nostalgic epiphany. The combination of the music and the perfect moment is the catalyst for much of the film's action, prompting the protagonist to fall in love with an ill-advised woman.http://www.imdb.com/title/tt0081554/ Armstrong is referred to in The Trumpet of the Swan along with Ella Fitzgerald and Billie Holiday. Three siblings in the film are named Louis, Billie, and Ella. The main character, Louis, plays a trumpet, an obvious nod to Armstrong. In the original E. B. White book, he is referred to by name, by a child who hears Louis playing and comments, "He sounds just like Louis Armstrong, the famous trumpet player." In the 2009 Disney Film The Princess and the Frog, one of the supporting characters is a trumpet-playing alligator named Louis. During the song "When I'm Human", Louis sings a line and it says "Y'all heard of Louis Armstrong". Awards and honors Grammy Awards Armstrong was posthumously awarded the Grammy Lifetime Achievement Award in 1972 by the Academy of Recording Arts and Sciences. This Special Merit Award is presented by vote of the Recording Academy's National Trustees to performers who, during their lifetimes, have made creative contributions of outstanding artistic significance to the field of recording. Grammy Hall of Fame Recordings of Armstrong were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance." Rock and Roll Hall of Fame The Rock and Roll Hall of Fame listed a song by Armstrong on the list of 500 songs that shaped Rock and Roll. Inductions and honors In 1995, the U.S. Post Office issued a Louis Armstrong 32 cents commemorative postage stamp. Photos Legacy Aside from his vast collection of recorded works, Louis Armstrong left his imprint on movies, television, and has had a number of other posthumous honors bestowed upon him. The house in New York where Louis Armstrong lived, at 34-56 107th Street (between 34th and 37th Avenues) Corona, Queens, for close to 28 years was declared a National Historic Landmark in 1977 and is now a museum Notes References * Armstrong, Louis. Satchmo: My Life in New Orleans. ISBN 0-306-80276-7 * Armstrong, Louis and Thomas Brothers. Armstrong, in His Own Words: Selected Writings. ISBN 0-19-514046-X * Bergreen, Laurence "Louis Armstrong: An Extravagant Life" ISBN 0-553-06768-0 * Brothers, Thomas "Louis Armstrong's New Orleans" ISBN 0-393-06109-4 * Cogswell, Michael. Armstrong: The Offstage Story. ISBN 1-888054-81-6 * Elie, Lolis Eric. A Letter from New Orleans. Originally printed in Gourmet. Reprinted in Best Food Writing 2006, Edited by Holly Hughes, ISBN 1-56924-287-9 * Jones Max and John Chilton. Louis Armstrong Story. ISBN 0-306-80324-0 * Meckna, Michael. Satchmo: The Louis Armstrong Encyclopedia. ISBN 0-313-30137-9 Books on Louis Armstrong Coming soon. External links * louis-armstrong.net - Sony BMG Music Entertainment * Louis Armstrong by Nat Hentoff * Obituary, NY Times * Quotes and tributes * Discography * Filmography @ imdb.com * The Louis Armstrong Society Jazz Band * Louis Armstrong: A Life in Music - slideshow by Life magazine * [http://www.seeingblack.com/x040901/armstrong.shtml Seeing Black jazz critic] on the Uncle Tom question * the official website of the Louis Armstrong House & Archives * "Louis Armstrong Transcription Project - john p birchall" * Louis Armstrong at pbskids.org * David Margolick, The Day Louis Armstrong Made Noise * Smithsonian Louis Armstrong: A Cultural Legacy * Louis Armstrong Memorial at Find A Grave * Louis Armstrong at NPR Music * Louis Armstrong: discography and early recordings (Real Player format) on the Red Hot Jazz website. * Milestone Louis Armstrong recordings at Three Perfect Minutes * Louis Armstrong's autobiography online book ** "Satchmo - My Life in New Orleans(1954)" free download **"Satchmo - My Life in New Orleans" another website New Orleans Category:Trumpet Category:Trumpeters Category:Jazz Singers Category:Scat Singers Category:Trumpeters Category:Trumpet Category:Scat Singers Category:Jazz Singers Category:Armstrong, Louis Category:Louis Armstrong Photos Category:Louis Armstrong Videos Category:Dixieland Category:Dixieland Videos Category:Jazz Videos